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Kate Molleson sees José Garcia forced to make way for a new composer, Marcos Portugal.

Composer of the Week shines the spotlight on the Afro-Brazilian composer José Maurício Nunes Garcia. Hailed by some as the Father of Brazilian Classical Music, and compared by others to Mozart and Haydn, this series delves into the life and music of this once hugely prolific and popular composer. Born in Rio de Janeiro, both his parents were children of slaves. Thanks to his exceptional musical talents, Garcia was able to move from his poverty-stricken beginnings to the very top of his society. He became master of music at the cathedral. Later, when the Portuguese Court established themselves in the city, Garcia was appointed master of music at the Chapel Royal and court composer. Kate Molleson is joined by Professor Marcelo Hazan from the University of South Carolina and Professor Kirsten Schultz from Seton Hall University who help her explore Garcia’s incredible life story and music.

A hugely influential teacher of music from early on, Garcia established his own free music school and was invited into the homes of the elite to teach their daughters. His trajectory wasn’t always plain sailing however and he frequently encountered racism. When it came to Garcia entering the Priesthood in the early 1790s, he had to undergo a number of tests to prove his worth, including providing impeccable references to offset the official concerns about his family background. Garcia was ordained, and with his musical skills finally recognised by the Church and Portuguese Court, he became the go-to composer for Saints' Days, royal occasions, and other commissions. However, many European musicians who came to Rio de Janeiro were not keen to be conducted by someone of his race. Eventually, Brazil gained independence from the Portuguese Empire and Garcia’s royal employers were returned to Portugal, leaving Garcia struggling during turbulent times.

In today's programme, the Portuguese Court is now firmly established in Rio de Janeiro. They begin a series of changes within the city in order to make it more European. The prince regent was keen that a new royal theatre should be built, and he also sent for certain musicians to come to Brazil, including the composer Marcos Portugal. This newcomer began to take over Garcia’s duties at the court. This was a difficult period for Garcia, and he had to take out a loan to ensure he could continue to support his growing family, including his mother, his partner, and six children.

In Monte Oliveti
Apollini et Musis
Jörg Strodthoff, organ
Vinzenz Weissenburger, conductor

Josef Haydn
Piano Sonata No. 62 in E flat, Hob. WVI: 52 (Finale)
Jean-Efflam Bavouzet, piano

José Garcia
Lição No 8 da Primeira Parte
Mário Trilha, fortepiano

Lição No 4 da Segunda Parte
Mário Trilha, fortepiano

Lição No 8 da Segunda Parte
Mário Trilha, fortepiano

Laudate dominum
Ensemble Turicum
Luiz Alves da Silva, director

Requiem Mass (excerpt)
Doralene Davis, soprano
Betty Allen, mezzo-soprano
William Brown, tenor
Matti Tuloisela, baritone
Morgan State College Choir
Helsinki Philharmonic orchestra
Paul Freeman, conductor

Creed No 9 in B flat (excerpt)
Darlene Cluff, soprano
Keely J. Rhodes, mezzo-soprano
Jeffrey Jones-Ragona, tenor
Peter Hamilton, bass
University of Texas Chamber Singers
University of Texas Chamber Orchestra
James Morrow, conductor

Produced by Luke Whitlock